Knee deep in revisions…

I’ve made some of the big structural changes that I hope, really hope, will improve the book. For example:

  • Vidar’s removed from several middle scenes so now his plot happens sooner and complicates earlier. To achieve this, I had him win an argument with his father (Odin) that he’d originally lost.
    • I’d done it that way b/c I wanted conflict between the two of them & I wanted to make Vidar achieving his goal more difficult.
    • With the rewrite I’m wondering if I’m forcing the confrontation to go in Vidar’s favor. I’ll have to let that one stew for a bit.
    • I haven’t yet written the new complications for his slightly expanded plot line.
      • The problem here is that the back-end’s timing is fixed and it works. So, I have to make the beginning part longer AND cool.
      • If it drags or introduces pointless stuff just for the sake of complicating, then I’ll know, the reader’ll know & it’ll suck.
  • Hyrrokin’s POV is gone from the book, but I’ve left her in as a non-POV character within Vafthrudnir’s POV.
    • I’m leaving her in b/c I need someone (a scout) to report on seeing “something” in Utgard’s hinterlands. It might as well be Hyrrokin since she’d been doing that anyway.
    • And, she makes a necessary appearance in BK 2, so the continuity will be good.
    • I haven’t written Vaft into any of her former, existing scenes or written new ones for him. Sigh.
    • Similarly, all the scenes Vaft was in (with the Skrymir and Loki) now have to be rewritten to make the Skrymir more active. Sigh #2 enters, stage left.
  • Odin & Frigg: I’ve been trying to improve him while also tweaking their relationship. Early days on this, but it’s progressing.
  • The past ~9 hours of writing has been focused on rewriting…and rewriting…and rewriting…a single scene in which two of the POV characters (Odin and Frigg) meet with the other Jarls (all non-POV now) to discuss the 2 major plot events and 2 related plot elements.
    • I think it’s the latter 2 elements that’s giving me trouble. Both are there to tie events together for the reader while confusing my protagonists. They also foreshadow events in future books.
    • Writing them in efficiently, though, is proving to be a real struggle. They were already there in the initial draft, but this entire “talking” scene had bogged the book down, so I’m trying to improve it’s pacing while still preserving/heightening the dramatic irony.
    • I may just need to table this for a week & make progress elsewhere. Some time away will probably help.

And as I’m working on all of this, a little voice in the back of my head is counting down to my deadline…42 days…41 days…. I’ll have still have more revisions after the line edit’s done (late January), but at that point those should be words & language not plot, pacing and character development.


Fantasy author writing a series inspired by Norse myth.